The musical will be presented by the Armstrong Atlantic State University Masquers student theater troupe in eight performances beginning April 11.

It is the final stage production of the Armstrong Department of Art, Music and Theatre’s 76th season.

Based on a play written in 1892 by German expressionist Frank Wedekind, “Spring Awakening” deals with teen sex and pregnancy, homosexuality, rape, suicide, child abuse and abortion.

It was reinvented as a rock musical, with music by Duncan Sheik and lyrics by Steven Sater.

The musical tells its story as seen through the eyes of three teenagers. The original play was banned because of its subject matter, and audience discretion is advised for mature content and language.

The production is directed by AASU associate professor of theater Pamela Z. Sears.

“‘Spring Awakening’ encourages us to choose our own path,” she says. “Struggles which we view as obstacles in our youth are the very events that guide us to personal happiness and that shape our world view.”

Some of the performances will feature audience discussions about the issues presented in the show.

“The position this production takes is that horrifying and scary events happen in our lives,” Sears says. “Those are the events that teach us how to become the people we grow into.

“We learn from them and can have a better tomorrow. There’s more of a redemptive and optimistic conclusion.”

The musical is proof that the more things change, she says, the more they stay the same.

“This story was written in the 19th century, but everything that is troubling and exciting to the teenagers in this story remains troubling and exciting to the teenagers in this day,” Sears says.

“Everything perplexing to adults in the 19th century is just as perplexing to adults today.”

The production is a departure from recent Masquers’ offerings.

“We like to balance our offerings between something contemporary, cutting-edge, and balance it with classics,” she says. “We do a lot of classical theater. The audience certainly likes to see a little bit of the old and the new.”

The roles offer challenges for the student actors.

“There are 13 in the cast,” Sears says. “Twelve are Armstrong theater majors, and everything but the set was designed by students.

“That’s exciting because they’re ready for it. This is a very visual and visceral show. We’re excited to have our senior design students sinking their teeth into a project like this.”

The set was designed by AASU theater instructor Megan Baptiste-Field.

“The music is a balance between indie rock and pop and a couple of ballads,” Sears says. “It’s a beautiful, beautiful score — and a fun one.”

In addition to the lead roles, the play contains 14 adult characters, all played by two actors.

“Making them distinctive with one female and one male is certainly a challenge,” Sears says. “It’s certainly key that college-age actors portray the raw, intense emotions of teens.”

Some students were surprised by the play’s subject matter.

“Whenever we had auditions, we were very careful to explain explicitly what the show was so everyone who committed to taking on the project was well aware of its content,” Sears says.

“It’s been greatly successful. The kids are thrilled with the idea and have been saying, ‘My younger sister or brother should see the show.’

“The message is choosing life, choosing a positive path even when the most devastating things seem to be happening around you. It’s appropriate for teenagers.”

Not only did “Spring Awakening” become a hit on Broadway, it won eight Tony Awards in 2007, including Best Musical. It also won four Drama Desk Awards, and the London production won four Olivier Awards.

Sater was presented with a Tony for best book, while Sheik received two Tonys for best orchestration and best original score. Sheik grew up in Hilton Head and has spent considerable time in Savannah.

While working on his third album, “Phantom Moon,” Sheik was given a translation of the play by Sater, who is his writing partner.

“He said, ‘Read this, tell me what you think and maybe we’ll adapt it as a musical,’” Sheik told the Savannah Morning News in February 2012.

“At that point in my life, I wasn’t necessarily the biggest fan of musical theater. Initially, I was a little bit at a loss, but I read the play and liked it a lot.”

The play was controversial when it was written.

“It’s strange and eccentric, a lot of fun, but also dark,” Sheik said. “We had many conversations about how we might approach an adaptation and how to musicalize it.

“Finally, I said, ‘If you think it’s legitimate, I’ll write music that is contemporary and my own aesthetic and not period or from any past musical.’ I was trying to find a way of making music that might be a little bit different than what you had heard on the stage before.”

Sheik said he and Sater had no idea they were working on a future Broadway hit. “We were quickly disabused that it would be on Broadway at all due to its content and the style we were working with,” he said.

“Through some alchemy and magic, it defied expectations. To be fair, by the time we had transferred to Broadway and after three or four terrifying weeks of previews, the show opened.

“All of a sudden, the New York theater critics just decided our show was a cool thing and a great thing. They really championed it. All of a sudden, people showed up in droves, and it began selling out.”

There’s a reason “Spring Awakening” won so many Tony awards, Sears says.

“It’s a fascinating piece because it balances classical themes with contemporary, exciting songs,” she says.

“When you go back and forth in a very unique way, it keeps you sitting on the edge of your seat. Before you know it, you’re in a dimension of your own.”